doing so varied significantly. Yet in their narratives about their respective communities, members often underlined a supposedly shared purpose across more evident differences. Based on these shared observations, we contemplated how this discursive co
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Communities Reimagining Sharedness in Belief and Practice
Sarah Hillewaert and Chantal Tetreault
Performance and Curation as Allied Socially Engaged Practices
contemporary socially engaged art practice. I should clarify that for my purposes the notion of socially engaged art denotes more than simply art that is socially engaged. Clearly all art has social implications. Rather the term denotes art that is literally
Reclaiming the democratic purposes of American higher education
Tracing the trajectory of the civic engagement movement
American colleges and universities have historically sought to promote an enlightened citizenry. In the early 1980s many felt that this civic purpose was in danger of being lost. What unfolded was a widespread educational reform movement aimed at reasserting the public and democratic purpose of American higher education. This article traces the trajectory of this movement and notes a significant emergent tension among movement members - the question of whether to seek broad-based legitimacy within the academy by aligning the efforts with disciplinary norms or to challenge the status quo and attempt to transform higher education and align its efforts with the pressing needs of America's democracy.
Wesker’s play The Merchant (1976) is based loosely on Shakespeare’s The Merchant of Venice with a didactic purpose. While ‘Shakespeare plundered three stories to write one play, he was repeating the plunder to write another’. 1 As far as
Passions and Purposes
Acting Faith and Nostalgia in New Caledonia
Matt K. Matsuda
As developed since the seventeenth century, the concept and experience of nostalgia has been linked to individuals or groups displaced from, and longing for, a distant site they consider to be “home.” Colonial historians have also noted that indigenous peoples, such as Australian Aborigines or the Kanak in New Caledonia, may suffer from “solastalgia,” that is, homesickness while “still at home” because they have been subjects with restricted rights on what was once their own territory. The thoughts and writings of Kanak seminarian and anticolonial activist Jean-Marie Tjibaou are analyzed to demonstrate the ways that Kanak communities have shaped locally rooted identities through traditions of genealogy to assert continuities in their own history. Special focus is given here to Tjibaou's seminary training and his appropriation of Biblical stories and teachings to make points about suffering, charity, nobility, and challenges to authority, both in staged passion plays and in Kanak versions of the Christian Word.
Walking Without Purpose
Sensations of History and Memory in Nagasaki City Rupert Cox
This article engages with two well-known episodes in Nagasaki's history by examining the everyday relationships between the discursive space of museums and the embodied space of walking. It is an examination of the exhibitive strategies and image conventions of sixteenth-century painted screens, namban byôbu, which depict the contact between Iberian visitors and city residents, and photographs of the trauma inflicted on victims of the atomic bombing of 1946. These two images collide in the presentation of the city to tourists, and I examine the ways that a new program of guided walks creates the opportunity for participants to experience commonplace sounds as the ephemeral residue of history. These sensations are made possible by the peripatetic routes that the guides, being long-term residents of the areas, create out of their own experiences.
The fundamental sustainability tension may be said to lie in reconciling want and greed. This places the human self or the human soul as a moral battleground where desire and duty constantly attempt to triumph over each other. However, desire must be understood and integrated as part of a fully self-conscious human self in order to enable a consistent and unwavering performance of duty. In this article, I propose the Hindu notion of the purusharthas, or the fourfold path to self-actualization, as one illustrative example of a green telos. The purusharthas prescribe a path comprising of material and sensuous experience, in obedience to dharma or duty, such that moksha or a state of complete self-awareness may be achieved. I suggest that the stage of dharma is thus where the most profitable connections between Hinduism and sustainable development might be made.
Sarah M. Hillewaert
each discursively constructed its purpose differently. For Jake, the physical practice was a means to a spiritual end, enabling a ‘return’ to a more ‘natural’ disposition of detachment, submission, and mindfulness. For Niles, yoga offered a path to
. Insofar as we are religious, we are the servants and instruments of compassion, of love, of goodness and of wisdom. To put them together, then, we are a worldly instrument to serve non-worldly purposes. The real conflict is not between us, the pious, and
The Richness of a Narrative Arrest
Performance and Scenic Composition in the Cinema of William Wyler
(see esp. Shingler 1999 , 2010 ; Thomas 2015 ). I wish to take a broader perspective by studying performers’ pacing with an eye to narrative purposes. I will assume that performers guide spectators’ attention when, for example, varying their pace of